曾锦德——孤独的文人画大家
Mr. Zeng Jinde: A Solitary Master of Literati Painting
口述：乐祥海（北京画院艺术部主任）
整理：曾路（2013年12月24日，厦门）
摘要：
曾老先生为一位具有独立人格与精神震撼力的艺术大家，其艺术成就堪比徐渭、八大山人。他游离于主流之外，不屑功利，以中庸平和的心态，用低视角描绘寻常风景，真诚表达内心所感，作品清高脱俗，毫无世俗之气。其作品看似随意实则讲究，难度极高，堪称文人画的经典个案。
关键词： 曾锦德；文人画；独立人格；曲高和寡；文化反思；孤独；
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曾老先生对西方关注过，从他的画当中可以看出来。画内心的所思所想，都表现出来了，而且也很成熟了，自己的东西都有了。在形式上，曾老先生是中国文化当中那种含蓄、意蕴的东西，一种格调的东西，看到他清高的一面，有自己价值判断，一点世俗也没有。
曾老先生是一个丰满的人，是一位大家，他的人格在他的作品里面是很突出。
如果把他同等来对比的话，他是徐渭、八大山人这样的，精神上一种完善，一种震撼力。
按照他那种年龄，他应该生活在政治最红火的时候，他能游离于政治之外，这是一个有独立人格意义的艺术家，就是对金钱，对所谓的功利，不屑一顾。如果他要低到哪了，不是这一种东西，画出来他就不是这样的。而且他的视角很低，不是要追求所谓传统文人画的哪种清高，那种所谓的高高在上，远离世俗的那种，他寻常风景如画。自己的感受，自己的兴趣，景色打动我了以后，寻思把他画出来，很好。
这种画我们要再认识清楚，为什么这样说，你曲高和寡，当他达到的高度越高，认识就越滞后，这个没办法，很少有人能欣赏得了，没有那么多人能看得懂。人家说这个画得不准，这个不清楚，这个也没交代清楚，其实完全不是那样的。太好了。
很好，他很孤独。
南方人、福建人画最好的，应该是他！
广州岭南，他们画里面有一种魅的东西，还有一种软的东西。
曾老先生画里面释放的那种东西就有力量，但是他很讲究，他的东西一看稀里哗啦，很讲究的，其实这种难度高，这种难度很高的。
一个画家在历史上要成立的话，必须有自己的一套语言方法，言说方式，这个方式不同于今人也不同于古人，而且是自己独特的，是在中国文化的审美范畴之内。比如一些人说：我创作出来一个新玩意，但是他不是中国的语境，不是中国画审美本色的东西，那么他就不成立。比如说吴冠中，大家也说他是大师，但是他对我们传统文化的理解不够，他经常说作画如何如何，其实恰恰证明他没进入中国画，没进入中国画的正脉上，所以你看他的画，所谓的彩墨画，不动人，一种表面上形式上的东西。
那种所谓主流已经搞到无路可走，我们在进行中国文化发展的一种反思，就是说对我们传统不重视，导致的恶果，这种对传统毁灭性的拆除，他不仅是文化方面的问题，艺术方面的问题，包括社会方面的问题，道德方面的问题，综合起来对传统文化的一种歧视导致的，现在很多社会问题都是这样。
70年代这样画不得了！
恰恰是他个人的边缘性，如果他是体制内主流身份他可能就不这样画了。
他的心态还是比较中庸的，太好了。
没有主题，技法也都很自由。
很大胆…
这是一个文人画经典的个案。
乐祥海（北京画院艺术部主任）
2013年12月24日
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Mr. Zeng Jinde: A Solitary Master of Literati Painting
This is a classic case of literati painting.
Mr. Zeng had some exposure to Western art, which is evident in his works. He expressed his innermost thoughts and feelings fully, and his works had already matured, forming a distinct personal style.
Formally, Zeng embodies the subtlety and profound cultural connotation of traditional Chinese art. He maintained a lofty independence, with his own value judgments and no trace of worldly concern. He was a complete personality, a master, whose character is strongly reflected in his works. In comparison with Xu Wei and the Eight Eccentrics of Yangzhou, his spiritual realm is equally accomplished and impactful.
Given his age, he should have lived in the most politically intense era, yet he remained independent of politics, demonstrating the significance of his autonomy. He disregarded money and utilitarian concerns. Had he conformed, his works would not convey this spirit. His perspective is grounded, not aiming for the so-called loftiness of traditional literati painting; instead, he portrayed ordinary landscapes according to his own feelings and interests, which is truly remarkable.
Such painting requires re-evaluation. The higher the artistic achievement, the fewer people can fully appreciate it. Some might criticize aspects as imprecise or unclear, but in reality, the works are excellent. He was very solitary. Among southern Chinese artists, particularly Fujianese, he stands out as one of the best.
In contrast, the Lingnan school of Guangzhou offers charm and softness, whereas Zeng’s paintings exude power yet remain refined. His works may appear spontaneous, but they are technically demanding and sophisticated.
For a painter to establish historical significance, one must have a unique language and mode of expression, distinct from both contemporaries and predecessors, while remaining within the aesthetic framework of Chinese culture. Works outside this context, even if innovative, cannot be fully realized. For example, Wu Guanzhong, though regarded as a master, did not sufficiently grasp traditional Chinese culture, and his colored ink paintings often remain formal rather than moving.
Neglecting tradition in mainstream art leads to issues in culture, art, society, and morality — a form of cultural disregard. Zeng Jinde’s creations in the 1970s were outstanding. His marginal status allowed him to express freely; had he been within the mainstream system, he might not have painted in this way. His balanced mindset, free technique, and bold creativity make his work a classic case of literati painting.
Le Xianghai
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